Rembrandt, Harmensz van Rijn, The Raising of Lazarus, 1632
Harmensz van Rijn Rembrandt, Etching, The Raising of Lazarus, 1632
|Artist:||Rembrandt, Harmensz van Rijn (1606 - 1669)|
|Title:||The Raising of Lazarus, 1632|
|Image Size:||14 1/2 in x 10 1/8 in (36.8 cm x 25.7 cm)|
|Sheet Size:||14 5/8 in x 10 1/8 in (37.2 cm x 25.7 cm)|
|Framed Size:||33 in x 28 1/2 in (83.8 cm x 72.4 cm)|
|Signed:||Signed by Harmensz van Rijn Rembrandt (Leiden, 1606 - Amsterdam, 1669) in the plate in the center, 'RHL van Ryn f.'|
|Edition:||According to Nowell-Usticke, a State VIII (of X) impression.|
|Condition:||A superb, rich impression; some minor expert conservation to the center right of the image near the man drawing back from the grave.|
This dramatic scene of resurrection clearly captures Rembrandt's immense talent at conveying human emotion, as we witness the individual expressions of each individual as they observe to the miraculous event before them.
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|Following the Biblical tale from the New Testament, this work dramatically captures
the moment in which Lazarus rises from the grave. Rembrandt utilizes light and
shadow to highlight Lazarus' resurrection, illuminating Lazarus' grave with
a stream of white light. However, the centrally located Christ, shrouded partially
in shadow, remains the focal point of the composition. Christ appears as a massive
figure worthy of awe and admiration. He turns his back to the viewer, denying
a clear view of his face, and raises his hand in a gesture of holiness as the
surrounding figures draw back and open their eyes in wonderment and disbelief
at the miraculous sight before them.
Created in c.1632, this original etching is signed in the plate by Harmensz van Rijn Rembrandt (Leiden, 1606 - Amsterda, 1669), 'RHL van Ryn f.' According to Nowell-Usticke, a VIII (of X) impression.
Catalogue Raisonné & COA:
1. Bartsch. The Illustrated Bartsch Vol. 50. Edited by Stephanie S. Dickey.
New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 73
(another example illustrated) on page 59.
About the Framing:
This work is framed to museum-grade, conservation standards, presented in a complementary moulding and finished with linen-wrapped mats and optical grade Plexiglas.
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Biography of Harmensz van Rijn Rembrandt
Rembrandt was born in Leiden and died in Amsterdam. He was the son of a miller and a baker's daughter, and was originally intended to become a scholar. He went to Latin School and then enrolled at the University of Leiden. After only a year he left to become apprenticed from 1622 to 1624 to a mediocre Leiden painter, Jacob van Swanenburgh. More important for his artistic development, however, was the short period of about six months that he spent training under Pieter Lastman in Amsterdam. In 1625 he began a working association with his friend Jan Lievens in Leiden, finally moving to Amsterdam in 1631/32. In the history of Dutch painting this date represents an important milestone, as Rembrandt was to become the incomparable representative of Amsterdam art. He soon established himself in Amsterdam, received many commissions and opened a large workshop. In 1634 he married Saskia, a lawyer's daughter, who brought a considerable dowry into the marriage.
In 1639 he bought a large house, never quite paid for, which he filled with works of art and curios. Soon his passion for collecting exceeded his finances. In 1642, the year he painted "The Night Watch" Saskia died, and from 1649 he lived with Hendrickje Stoffels whom he could not marry without losing Saskia's legacy to their son Titus. In 1656 he went bankrupt, and his house and all possessions were put up for compulsory auction. Rembrandt spent his final years in poverty and isolation in rooms on the outskirts of Amsterdam, his powers of creation undiminished.
Rembrandt was the most universal artist of his time and he influenced painting for half a century, irrespective of schools or regional style. From his many fields of activity his pupils developed their own specialties, ranging from trompe l'oeil painting to the very detailed Leiden style. Unlike most Dutch painters of the time, who worked in fairly narrow fields, Rembrandt depicted almost every type of subject.
Although Amsterdam's leading portraitist for a decade ("Jan Six", Amsterdam, Foundation Six), also doing group portraits (The Staalmeesters," he was a painter of numerous biblical scenes ("The Sacrifice of Isacc," St. Petersburgh, Hermitage), of the mythological works works ("Philemon and Baucis", Washington, National Gallery) and landscapes ("Landscape in Thunders Brunswik, Herzog-Utrich-Museum) as well at life. In his work, branches of painting often overlapped, as for example in the group portrait "The Night Watch," where he took liberties with a number of rules. Rembrandt's fame rests on his continual development of pictorial devices and unvarying excellence of execution (unlike the works of Rubens, man which were left in part to workshop routine), a well as on his brilliant handling of light and shade and his ability to suggest states of mind through facial expression.
Apart from his greatness as a painter he was a powerful draughtsman and etcher. About 300 of these Rembrandt etchings survive. In this field he extended the technique and artistic possibilities, for example introducing the chiaroscuro effect, raising it to an art for in its own right. Amongst his approximately 15 drawings, the landscape scenes are particularly captivating in their serenity and harmony. Rembrandt's The Hundred Guilder Print is one of his most valuable and sought after etchings.